Princeton’s Juri Seo makes today’s “Composer’s Datebook.” Listen to the two-minute segment here:
https://www.yourclassical.org/programs/composers-datebook/episodes/2020/12/02
Then find out more, at her website:

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Princeton’s Juri Seo makes today’s “Composer’s Datebook.” Listen to the two-minute segment here:
https://www.yourclassical.org/programs/composers-datebook/episodes/2020/12/02
Then find out more, at her website:

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EIGHT DAYS OF SIBELIUS, in anticipation of the composer’s birthday anniversary on December 8:
One day, back in the late ‘90s, when I was still an antiquarian bookseller with a weekend full of radio obligations, a stranger wandered into my shop and stood transfixed. Robert Kajanus’ world premiere recording of Sibelius’ Symphony No. 3, set down in 1932, was emanating from the mantle speakers. The man turned to me and remarked upon the quality of the performance. I told him it was Kajanus, which he acknowledged with a nod. Then he introduced himself by saying the music was composed by his grandfather. This is how, by purest chance, I struck up a friendship with Anssi Blomstedt, a documentary filmmaker, then living in Philadelphia, and the youngest grandchild of Jean Sibelius.
Not long after, I made some phone calls and was able to get Anssi into a rehearsal of Simon Rattle conducting the Philadelphia Orchestra in Sibelius’ Symphony No. 5. The ebullient Rattle was overjoyed to meet him. The encounter happened to coincide with an interview Rattle was doing backstage with somebody from Vanity Fair, I think, and somewhere there is a photograph of the future Sir Simon planting a kiss on Anssi’s forehead.
One good turn deserves another, and it was through Anssi that I actually got to meet Einojuhani Rautavaara, back in the year 2000. At the time, Rautavaara was Finland’s most revered living composer. As a young man, he had actually worked as Sibelius’ chauffeur! Now he was in Philadelphia for the first performance of his own Symphony No. 8, subtitled “The Journey.” Anssi took me backstage at the Academy of Music to introduce us. The venerable composer was friendly and obviously amenable to a photograph (taken by Anssi, and posted here, in all its pre-digital glory).
Rautavaara was also kind enough to sign my Naxos CD of his Symphony No. 3, the Piano Concerto No. 1, and the Concerto for Birds and Orchestra, known as “Cantus Arcticus.” I wonder what he thought of this peculiar, 33-year-old, American fan.
It was through Anssi that I also acquired an autographed photo of Sibelius, which he brought back from the composer’s home, Ainola, in Järvenpää, Finland, located 23 miles north of Helsinki. I have yet to come across it since my move to Princeton, but it is around here somewhere! Sometime this week, I’ll try to post a photo of the Sibelius letter I acquired earlier, as a bookseller, which I had framed with a photo of the composer enjoying a good cigar. (The letter is a note of thanks for a box of cigars, one of Sibelius’ notable weaknesses.)
Later, Anssi lived for a time in Easton, PA, another amazing coincidence, since Easton happens to be my hometown. He then moved back to Finland, so it’s been a number of years since we’ve seen one another. I’m thinking today might be a good time to try to reestablish contact.
Sibelius’ Symphony No. 3, conducted by Robert Kajanus:
Probably Einojuhani Rautavaara’s most frequently-heard work, the “Cantus Arcticus,” with bird songs recorded by the composer in the bogs of Liminka, near the Arctic Circle:

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When I was in my late teens and early 20s, no writer enthralled me more than Mark Twain. His observations could be so contemporary, so scathing, and so hilarious.
As with much else, Twain had a lot to say about music. He was not a big fan of classical music, least of all opera. Or so he maintained. Everyone loves a good bon mot, so we all remember the withering zingers.
But taken collectively, Twain’s reactions are more of a mixed bag. He likes the stuff he knows and enjoys Wagner in moderation. At the very least, he concedes that he wants to like “the higher music,” but would like to do so without expending the time, the effort, and the attention it would take to make it more rewarding, or at the very least comprehensible. Somehow, he just never caught the spark that for me flared into a wildfire. Perhaps if at the time the ability to hear the music had been more accessible.
I gather, more than anything, it’s the phonies that he found repellent, and justifiably so. He singles out those who make a big display of themselves, humming along to ensure everyone around them recognizes their authority and absorption. It’s worth noting that this was at a time when going to the opera was more of a rarified experience, for many financially prohibitive, and perceived as a social gathering of the upper classes.
Twain’s experiences with music were in the days before records, before classical radio, even before supertitles at the opera. He refers to melodies he knows from having encountered them on a hand-organ or a music box as the extent of his music education. These, he confesses, he finds delightful when heard in the opera house. So it seems the potential was there. What he lacked was regular exposure, without the annoyance and affectations of other people – a few more positive experiences. What he might have thought in this more democratic age of cell phone disruptions is anyone’s guess.
Twain on opera:
http://www.twainquotes.com/Opera.html
Of course, he could be just as irreverent about the banjo:
It’s okay, Sam. You may hate classical music, but we still love you. Happy birthday.

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With Thanksgiving now behind us, and today the beginning of Advent, this week’s Classic Ross Amico crossword is all about domesticity and music.
To fill out the puzzle, follow the link and select “solve online” at the bottom of the page. You’ll then be able to type directly into the squares. Once you feel you’ve exhausted the puzzle, you’ll find the solutions by clicking on “Answer Key PDF.”
There’s no place like “home” for the holidays – a phrase that might have been coined for COVID.
https://www.armoredpenguin.com/crossword/Data/2020.11/2909/29090323.937.html
“Bowling, anyone?”
Aaron Copland (93) Beethoven (95) Composer (114) Film Music (145) Film Score (143) Film Scores (255) Halloween (94) John Williams (195) KWAX (229) Leonard Bernstein (104) Marlboro Music Festival (125) Movie Music (160) Mozart (91) Opera (213) Philadelphia Orchestra (89) Picture Perfect (174) Princeton Symphony Orchestra (109) Radio (88) Ross Amico (244) Roy's Tie-Dye Sci-Fi Corner (290) The Classical Network (101) The Lost Chord (269) Vaughan Williams (105) WPRB (397) WWFM (881)
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